Inscriptions "all'antica" of the Sepulchral Monument of Emperor Maximilian I in Innsbruck by the Calligrapher George Bocskay (original) (raw)
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The history of the Austrian National Library in Vienna has been associated with a great many Bohemical manuscripts since their medieval beginnings. This situation arises from the close link between Austrian and Bohemian political and cultural history. Unfortunately, we lack primary sources for the history of the Imperial Court Library in the epoch after the death of Maximilian I until 1575, when Hugo Blotius was appointed the first official librarian. Individual acquisitions for the book collection connected with Ferdinand I of Habsburg are less well reconstructed in comparison with the Ambras library of his son Ferdinand of Tyrol. Other manuscripts could be identified on the basis of their personal dedications to Ferdinand I. Among those manuscripts is a tiny illuminated prayer book incorporated by librarian Hugo Blotius into Turcica (Cod. 11704). On the basis of the illuminations this prayer book can be newly identified as an unknown Bohemical manuscript. The decoration is dated and signed. It may be connected with the Prague Old Town guild painter Fabián Puléř (died after 15 December 1562), who has been known as the author of illuminated music manuscripts and contractually documented altar retables. The manuscript was written by Italian Johannes Cavalerius (1524–1580), chaplain and confessor of Archduke Ferdinand of Tyrol, who dedicated the illuminated prayer book to Emperor Ferdinand I. There are documented contacts between Cavalerius and the Prague Catholic church representatives: he was quite close to the St Vitus and Vyšehrad prelates. We presume that the manuscript illuminated in 1557 may have been meant as a gift expressing Cavalerius’ gratitude for being appointed provost of Vyšehrad Chapter of Saint Peter and Paul. In fact, Cavalerius was appointed in 1557. The commission of such a specific manuscript completes the existing image of the relations in the court cultural circle, Catholic representatives of the Church, and the Prague community of guild painters from around the mid-16th century.
Previously Unknown Charters in Booklet Form by the Calligrapher George Bocskay
Acta Historiae Artium, 2016
In this paper, the author examines the script forms and ornaments of five works by the Hungarian calligrapher, George Bocskay (†1575), which have so far eluded researchers’ attention. All are manuscript charters on parchment, issued in Vienna in the second half of the sixteenth century by Habsburg rulers (some in their capacity as kings of Hungary), and all are of extremely high quality, decorated with elaborate calligraphy. Justification for presenting them together derives from their similar format: they are not conventional, single folio charters, but were all produced in booklet form. Since these manuscripts were closely connected with George Bocskay’s time as an official at the Viennese Court, the paper provides an overview of the different stages of his career there, based primarily on recently unearthed archive sources. For thirty years Bocskay worked at – and was promoted through the ranks of – the Hungarian Court Chancellery, which was the official government body within the composite state of the Habsburg Monarchy with responsibility for issuing charters pertaining to the Kingdom of Hungary. Among the official documents issued here by the Habsburg rulers, in their capacity as kings of Hungary, the most important from an art historical aspect are the letters patent issued to members of the Hungarian nobility, which featured a miniature of the granted coat of arms and usually also calligraphic decoration. Based on the author’s latest research, several examples of such decoration can now be attributed to the calligrapher, whose activity even led to the creation of a calligraphic school within the Chancellery. This paper presents three previously unknown manuscripts, namely the letters patent issued to Márk Horváth-Stanchich (1558), János Pethő de Gerse (III) (1572), and János Liszthy (1573); the identity of the master who made the miniatures on the two latter documents is also suggested (Donat Hübschmann). Furthermore, the paper provides clarification of the reading of a Bocskay signature found on a letters patent (grant of barony) issued to Miklós Oláh (1558–60), already described in the literature as a work by the calligrapher. Also on the basis of relevant archive sources, the author goes on to opine that, in addition to his official positions at the Chancellery, Bocskay also served in another role within the Viennese Court, which can best be defined as “calligrapher to the ruler.” It was for such services that Ferdinand I of Habsburg, in his capacity as Hungarian king, also bestowed upon him the nominal title of royal courtier (in Latin: aulae regiae familiaris / aulicus). In the author’s opinion, the artist, as “calligrapher to the ruler,” was also given the commission to decorate two further important charters, also discussed in this paper, both ratifying royal marriages between Habsburg archduchesses and Italian noble houses. Issued in Vienna in 1565 by Emperor Maximilian II of Habsburg and Archdukes Ferdinand and Charles, one charter ratified the marriage between Archduchess Barbara and Alfonso II d’Este, while the other ratified the marriage between Archduchess Joanna and Francesco Medici.
Orthodox Europe - Ορθόδοξη Ευρώπη - Orthódoxi Evrópi - Православная Европа ISSN 2545-3823, 2019
The Way of an Exemplar of the First Book of the Suprasl Typography to the Habsburg Empire The first book (a Liturgicon) had begun to be printed in Vilnius in 1692 which were shown on the title page, then the pressing of the body were finished in Suprasľ, 1695, according to the colophon. The printing policy of the monks of Basilian Order was evidenced by a very complete example of the first Liturgicon, too, which were found by the author in the Rome Catholic Library in Eger, North Hungary. The rich Rome Catholic bishops provided the poor Uniate Greek Catholics (of Byzantine Rite) of Mukachevo by education. Thus a lot of service books printed in Church Slavonic got into Eger Library, according to the archival data were studied by the author. While the Liturgicon 1692-1695 contained some etchings depicted the Heart of Jesus and other Catholic symbols, the same engravings were used for the second edition printed in Unev, 1740 (҂AѰМ), too, but all these Western symbols were removed. (It is to be illustrated in the paper hence examples of both editions are held in Hungary, too.) Droga egzemplarza pierwszej książki drukarni supraskiej do Cesarstwa Hasburskiego Druk pierwszej księgi (Liturgikon) został rozpoczęty w Wilnie w 1692 roku, co zostało ukazane na stronie tytułowej voluminu. W całości edycja została zakończona w Supraślu w 1695 roku. Politykę drukarską mnichów z Zakonu Bazylianów potwierdza pełny egzemplarz pierwszego Liturgikonu, który został znaleziony przez autora w Bibliotece Katolickiej w Egerze (północne Węgry). Bogaci katoliccy biskupi zapewniali duchownym unickim (obrządku bizantyjskiego) z Mukaczewa edukację. W ten sposób wiele książek drukowanych w języku cerkiewnosłowiańskim trafiło do biblioteki w Egerze. Liturgikon z lat 1692-1695 zawierał ryciny przedstawiające Serce Jezusa i inne symbole katolickie, które ryciny zostały użyte do drugiego wydania w Uniejowie w 1740 roku. W wydaniu tym wszystkie te zachodnie symbole zostały usunięte. Fakt ten ilustrują dwa Liturgikony znajdujące się na Węgrzech.
Studia Rudolphina: Bulletin of the Research Center for Art and Culture in the Age of Rudolf II, 2021
The present article reconstructs the visit of the Florentine architect Antonio Lupicini to the Habsburg courts of Vienna and Prague from 1578 to 1580. Dispatched by Grand Duke Francesco I de’ Medici to serve Emperor Rudolf II, the architect’s imperial sojourn offers new insights into Rudolf’s earliest construction projects and pays testament to some of the first diplomatic gifts (including two books of watercolours by Jacopo Ligozzi) the Emperor received for his Kunstkammer collection. It also traces the earliest encounters between Francesco and the Habsburg Emperor, starting with their first meeting in 1563. This encounter was followed by a gift of Rudolf's portrait by Alonso Sanchez Coello, which is still extant in Florence today. Winner of the Royal Studies Journal Annual Essay Prize 2023
Foto: Narodní muzeum ČLÁNKY / ARTICLES 2 Jaroslav Zeman, "Mosty do minulosti." Specifika architektury českých Němců a její inspirační zdroje na příkladu severních Čech 'Bridges to the Past': The Specific Properties of Bohemian German Architecture and its Sources of Inspiration in the Case of Northern Bohemia 23 Bronislava Rokytová, Groszův automobil na lodi a Bertovy stokoruny na pokuty. Opomenutý umělec Josef Justus alias známý antinacistický karikaturista Bert Grosz's Car on a Ship and Bert's Hundred Crown Notes for Fines: The Forgotten Artist Joseph Jusztusz, aka the Well-Known anti-Nazi Caricaturist Bert 44 Aleksandra Paradowska, ‚Hitler's Officials at Home' in Germany-Occupied Poland "Hitlerovi nacističtí funkcionáři doma" v okupovaném Polsku ZPRÁVY / REPORTS 67 Daniela Rywiková, Hanging at the Crossroads: The Crucifixion in the Prague Edition of Mater verborum Na rozcestí. Ukřižování v pražské edici Mater verborum 80 Andrzej Kozieł, Presentation of Johann Franz de Backer's The Finding of the Body of Duke Henry II the Pious as the First Temporary Painting Show in Wrocław Obraz Johanna Franze de Backera Nalezení těla knížete Jindřicha II. Pobožného v kolegiátním kostele sv. Kříže. O první malířské výstavě ve Vratislavi ARCHIV / ARCHIVES 92 Ondřej Vodička, Štěpán ze Staňkova a kauza pokladu kapituly Všech svatých na Pražském hradě za husitských válek Štěpán of Staňkov and the Case of the Treasure of the Chapter of All Saints at Prague Castke during the Hussite Wars ROZHOVOR / INTERVIEW 99 Eva Janáčová, Vladimir Levin in Conversation with Eva Janáčová RECENZE / REVIEWS 103 Tereza Johanidesová, Krista Kodres-Kristina Jõekalda-Michaela Marek (edd.), A Socialist Realist History? Writing Art History in the PostWar Decades 108 Jan Salava, Zdeňka Míchalová, Měšťané, umělci, řemeslníci. Výtvarná kultura v Telči a Slavonicích v době renesance 112 Sylva Dobalová-Petr Uličný, Dirk Jacob Jansen, Jacopo Strada and Cultural Patronage at The Imperial Court 116 Anežka Mikulcová, Václav Hájek, Obzory a ruiny: Viditelné a neviditelné v romantické krajinomalbě 119 Katarína Beňová, Roman Prahl, Chitussi 122 Martin Hrdina, Ivo Habán (ed.), Nové realismy. Moderní realistické přístupy na československé výtvarné scéně 1918-1945 125 Anotace / Annotations 129 Česká resumé / English summaries 135 Zásady úpravy textů v časopise Umění/Art / Editing Principles for Publications in Umění/Art
The Iconography of Prague during the Reign of Maria Theresa
The empress Cities, 2017
By the mid-eighteenth century Prague, the capital of the Kingdom of Bohemia, which had been under the rule of the Habsburgs since 1526, was no longer a royal residence. But although it was losing its importance, it continued to be depicted in various 'images'. This paper provides a brief classification and basic characteristics of different groups of city plans and vedute dating back to the 18th century. The main focus is on two of them, which – combined – illustrate Prague in the reign of Maria Theresa. The first is the commissioned description of the coronation ceremony of Maria Theresa as queen of Bohemia in 1743; especially the first part, the ceremonial entry of the empress and her husband into Prague illustrated with six vedute of the procession captured in carefully chosen public spaces by Jan Josef Dietzler, provides us 'in words and images' with a detailed and lifelike view of Prague. As Prague lacked an orientation plan serving public practical purposes until the 1780s, the most suitable source meeting topographical and aesthetical requirements, originally intended to be printed, is a large 'panoramic' town plan of Prague by Joseph Daniel Huber (1769). An integral part of the paper is a diagram which shows the route taken by Maria Theresa and Francis Stephen of Lorraine on the day of their ceremonial entry into the city, plotted against the city plan and marking the viewpoints, which Dietzler made use of to sketch his vedute.